Playing the Piccolo

Panicking Over Piccolo?

For all of junior high school, and part-way into high school, I dreaded the piccolo. I had been forced to play it in a marching band during my first-ever music camp, and the frightful experience of playing this high-pitched instrument in unison with 5 (!) other players was too much for my eardrums to bear. I swore to never, ever play the piccolo in school band. I should have known better - I seemed doomed to play it after that. The very next year, my school band director needed me for marches with piccolo parts, and then Christmas music, then solos…….it never ended.

But now that I’ve become more proficient on the instrument, I’ve finally grown to appreciate it and enjoy the piccolo parts I am given to play. Though it can easily be shrill without practice, the piccolo actually has a great range of effects that are often unappreciated by the beginner player. So, you may ask, how do you play piccolo so that it actually sounds nice?

The first time I ever brought piccolo questions to my private lessons, I was scared that I would be unable to play a critical part for my regional band tour. Though I now understand he meant it as a compliment, I was in shock that my regional director had assigned me the piccolo position for that years’ tour when the year before I had been a second flute. I still felt inexperienced on piccolo, and I had 1 month to learn the repertoire for that year, which was pretty heavy for a 15-year old. Holst’s Jupiter was a test of stamina and ability, and contained very fast, short solos that would stand out terribly if out-of-tune or played rhythmically wrong. We would also be performing Lope’s Gallito, which at the time was as high in range for picc as I could play for flute. Luckily, my teacher at the time was really wonderful for whipping me into shape.

Though I managed quite well with the help of my flute teacher, you might not have the same option available to you. With that in mind, I’ve compiled some basic tips to help you improve your tuning, sound, and technique on the piccolo:

1. Play in front of a mirror.

Okay, as weird as it sounds, it actually works wonders for observing the habits you may have developed while playing. (try this while you play flute, too) If you’re frustrated that your sound seems pinched, quiet, or really, really shrill, watch in the mirror. How much are you rolling into your embouchure (lip) plate? When you place the headjoint into the body of the piccolo, the hole of the headjoint should be in line with the first key when it is pressed down. After you’ve made sure that is aligned properly, start playing a scale on the piccolo while you are faced away from the mirror, then turn and look in the mirror while you play. The keys should appear horizontal to the ground, not an angle toward or away from you. If the piccolo is rolled in too far toward you, your sound will be really out of tune and have a whistling quality.

2. Use faster air.

Just like in the higher octave of the flute, piccolo requires that you blow the air through your instrument faster. As you play higher and higher pitches, less air is pushed through the hole of the headjoint, and instead travels across the opening to produce the sound. Practice with just the headjoint (doesn’t this feel like gr 7 all over again? J) of the piccolo, plugging up the open end of it with your pinky. (this makes it easier for you to hit pitches) Try to achieve a warm sound - though it’ll probably seem stuffy because your finger is stopping up the end. Now try to blow the pitch you hear up an octave without becoming tight in the throat or pushing the headjoint against your face.

A good way to remember to use fast, focused air is to keep a space between your lips and your teeth as you play. (Another reason NOT to push the instrument into your mouth!) Instead of thinking that your instrument needs to meet your mouth, think of your lips reaching out to the piccolo. The more space you have, the greater projection and tuning you will have.

3. Stay relaxed.

If you find that you feel tense in your airway while playing flute, you may want to spend some serious time relaxing the muscles of your throat and neck while you play. Here’s where the mirror comes in handy again. Watch your throat as you play. Do you notice any muscles that seem particularly taut? Or (scary mental image here) are any veins in your neck really bulging out when you play? Do you hear any noises (even subtle ones) from your throat as you tongue a scale? If so, your throat is far too tight and you are constricting your sound.

Try to imagine your throat as a wide pipe for air. Any pressure you need to push the air out of your body will come from your diaphragm, not your throat. (your diaphragm put pressure on your lungs to take in or let out air - it’s very powerful)

4. The “Dimples Test”

Well, here’s the simple truth: if you have dimples in your cheeks, you will never, ever be able to hide problems with your embouchure. In a way, though, it’s a good thing. While all the dimple-less players out there simply have to watch more carefully to avoid embouchure tightness, your dimples will instantly detect if your face muscles are being used incorrectly. When you play, your dimples should not show, or at least barely show. (I think every one of the people who have given me any instruction on flute have taken advantage of my “dimple-meter”) If you can keep your cheeks relaxed, you’ll find that your sound becomes clearer and your dynamic sensitivity is far greater.

Please don’t hesitate to email me if you have any questions, concerns, worries, or are just curious about a piccolo piece you’re working on. I’ll be more than happy to help. Hope to hear from you soon!